One of the few musical instruments, the date of appearance of which can be said more or less definitely. Researchers agree that it was created in 1701 by the Nuremberg woodwind instrument maker Johann Christoph Denner (1655-1707), who improved the ancient French Chalumeau pipe.
Two fundamental differences allow us to talk about the birth of a new instrument: First, Denner replaced the tube with a notched tongue with a reed plate - a cane attached to a wooden mouthpiece, and removed the chamber in which it was located ( characteristic feature instruments of the Renaissance), which made it possible, by changing the pressure of the performer’s lips on the reed, to influence the quality of the resulting sound. Secondly, he introduced a doudecima valve, which facilitates overblowing, and thereby expanded the range of the new instrument. The sounds of the upper range of the clarinet reminded contemporaries of the timbre high pipe- clarino (clar - light, clear), which gave the instrument its name - the diminutive Italian clarinetto.
By the middle of the 13th century, isolated cases of using the new instrument in orchestral scores were known, and in 1755 clarinets were introduced into all French military bands. Through the efforts of many musical masters, among whom should be named Denner's son Jacob, Berthold Fritz, Joseph Beer and Xavier Lefebvre, the clarinet was improved, and by the end of the century it had taken a strong place in European orchestras. However, the fingering difficulties inherent in the design of the clarinet (see “a little physics”) did not allow free play in all keys.
Performers and craftsmen found a way out of this situation by creating instruments different sizes, sounding in one key or another depending on their length. This problem has not been completely solved to this day, and modern professional clarinetists carry two instruments in their cases: “in B,” which transposes a major second down, and “in A,” which transposes a minor third down. Other varieties (see gallery) are used, rather, not for ease of play, but because of their different timbre. (Although composers, starting with W.-A. Mozart, also use the difference in the timbres of the “in B” and “in A” clarinets)
A LITTLE PHYSICS
The clarinet belongs to the woodwind instrument family. Instruments are grouped into a group not based on the material from which they are made, although most of them are indeed wooden, but based on design features: the pitch of the sound is changed by opening and closing holes drilled in the barrel of the instrument. The group in a modern orchestra includes, in addition to the clarinet, flute, oboe, bassoon and saxophone (all with their own varieties). Also, according to the indicated criteria, it can include the recorder and numerous folk instruments: zhaleika, zurna, nai, etc.
But among its fellows, the clarinet has several unique differences, determined by the acoustic characteristics of sound formation. The main design difference that defines all others is that the clarinet is an instrument that has a cylindrical, rather than conical, bore bore. (The flute, also a cylindrical instrument, has both ends of the channel open.) Thanks to this, the sound in the channel appears as in a “closed pipe”, i.e. There is only one node and one antinode.
sound wave in an open pipe
sound wave in a closed pipe
Along the length of the sounding part of the channel, only half fits sound wave, the second half is formed by reflection from the closed end, so the clarinet sounds an octave lower than an “open pipe” of the same length (cf. flute). This same acoustic feature determines that there are no even overtones in the spectrum of the clarinet sound, and the so-called “overblowing” occurs not by an octave, as in other instruments, but by a duodecimus. Therefore, the clarinet’s fingering, compared to other wooden ones, is complicated (additional valves were required to fill the “extra” fifth), and the range is almost four octaves (here, only the horn can compete with the clarinet among wind instruments). For the same reason, the sound of a clarinet differs so greatly in timbre in different registers.
The clarinet was invented in last decade XVII century. The immediate predecessor of the Clarinet is the ancient folk instrument pipe
The first clarinet invented had seven holes and two valves: A and B-flat (also known as the duodecima valve). Halftones were obtained by artificially opening the hole halfway and the degree of tension of the labial muscles.
The first composers who began to use the clarinet in the orchestra were J. Stamitz (1717-1757), K. Abel (1723-1787), K. Kannabikh (1731-1798), I. K. Bach (1735-1782). Subsequently, the importance of the clarinet as an orchestral and solo instrument increased in accordance with its technical improvement.
For a long time there were clarinets of various tunings - high As, F, D, Es and ordinary C, B and A. In addition - Clarinette d'amour tuning G (invented in 1770), basset horns (alto clarinets) F and Es (invented in 1782), which were used by W. Mozart, who wrote for them a solo in the opera La Clemenza di Titus and a part in the Requiem, as well as a bass clarinet (invented in 1793) in tunings C, B and A.
The development of the clarinet mechanism was greatly contributed by performers. Thus, in 1809, clarinetist Ivan Müller added several levers to the already existing ten valves to obtain different fingering options.
In the early forties of the 19th century, Professor of the Paris Conservatory G. Klose (1808-1880), together with the Buffet company, used movable rings (glasses) designed for the flute by T. Boehm on the clarinet of the Muller system. This is the instrument that is usually called the Boehm clarinet.
Thanks to its beautiful timbre and technical capabilities, the clarinet has taken a strong position in the orchestra since the end of the 18th century and has emerged as a solo and ensemble instrument.
Currently, clarinets of the French system are most widespread. They differ from the German system in drilling the tool channel. The “fork” fingering of sounds (see example below) is not used here:
The French system gives more freedom in sound production in the upper register.
In addition, the device of the valve system on the lower knee makes it possible to produce sounds:
The advantage of clarinets of the French system is also the possibility of clearer intonation of the sounds gis1, a1, b1, which sound somewhat dull on a clarinet of the German system. Using the little fingers of the right or left hand (leaving one little finger free), which eliminates the need to move the little fingers from valve to valve.
It is a musical wind instrument made of wood. It has a soft timbre and a wide sound range. The clarinet is used to create music of any genre. Clarinetists can perform not only solo, but also in a musical orchestra.
Its history goes back more than 4 centuries. The instrument was created in the 17th – 18th centuries. The exact date of appearance of the instrument is unknown. But many experts agree that the clarinet was created in 1710 by Johann Christoph Denner. He was a master at making woodwind instruments. By modernizing the French Chalumeau pipe, Denner created a completely new musical instrument with a wide range. When it first appeared, the chalumeau was a success and was widely used as part of orchestral instruments. Denner created Chalumeau in the form of a tube with 7 holes. The range of the first clarinet was only one octave. And to improve quality, Denner decided to replace some elements. He used a reed cane and removed the squeak tube. Further, to obtain a wide range, the clarinet underwent many external changes. The main difference between a clarinet and a chalumeau is the valve located on the back of the instrument. The valve is operated with your thumbs. Using the valve, the clarinet's range moves to the second octave. By the end of the 17th century, the chalumeau and clarinet were used simultaneously. But by the end of the 18th century, Chalumeau was losing its popularity.
After Denner's death, his son Jacob inherited his business. He did not leave his father’s business and continued to create and improve musical wind instruments. 
On at the moment There are 3 great instruments in museums around the world. His instruments have 2 valves. Clarinets with 2 valves were used until the 19th century. In 1760 famous musician from Austria Paur added another valve to the existing ones. The fourth valve was turned on by the Brussels clarinetist Rottenberg on his own behalf. In 1785, Briton John Hale decided to include a fifth valve in the instrument. The sixth valve was added by clarinetist from France Jean-Xavier Lefebvre. Why was it created? new option instrument with 6 valves.
At the end of the 18th century, the clarinet was included in the list of instruments classical music. Its sound depends on the skill of the performer. Ivan Muller is considered a virtuoso performer. He changed the structure of the mouthpiece. This change affected the sound of timbre and range. And it completely cemented the clarinet’s place in the music industry.
The story of the instrument's appearance does not end there. In the 19th century, conservatory professor Hyacinthe Klose, together with musical inventor Louis-Auguste Buffet, improved the instrument by installing ring valves. This clarinet was called the “French clarinet” or “Böhm clarinet.”
German inventor Johann Georg and clarinetist Karl Berman also contributed their ideas. 
They changed the way the valve system works. Thanks to this, the German model of the instrument appeared. The German model is very different from the French version in that it expresses the strength of the sound at a higher range. Since 1950, the popularity of the German model has declined sharply. Therefore, only Austrians, Germans and Dutch use this clarinet. And the popularity of the French model has increased sharply.
At the beginning of the 20th century, in addition to the German and French models, “Albert clarinets” and “Marquis instruments” began to be produced. Such models had a wide range that raises the sound to the highest octaves.
For now modern version The clarinet has a complex mechanism and about 20 valves.
On the pages of literary works
I had the opportunity to write this essay about the clarinet during that period - which has lasted quite a long time - when I was irresistibly attracted (and still is attracted) French literature. I read and re-read the greats: P. Mérimée (his travel essays are evidence of the amazing erudition of Mérimée the archaeologist), G. Flaubert (“Bouvard and Pécuchet”; M. Proust wonderfully parodied the heroes of this novel in his early story“Secular vanity and music-mania of Bouvard and Pécuchet”, putting into their mouths witty maxims about Wagner, Franck, Massenet...), novels of the series “In Search of Lost Time” by M. Proust (here music is a full-fledged mistress; what are the pages dedicated to the sonata worth? Vinteuil - fictional, of course - in the novel “Towards Swann”), O. de Balzac...
Prince Nikolai Esterhazy playing the clarinet
Balzac. Many of his heroes play music, and some, surprisingly, play the clarinet specifically. In the novel “Officials” we read: “Colleville was the first clarinetist at the Opéra-Comique, where he played in the orchestra in the evenings, and in the morning he kept office books.” Curious: at the Paris Opera-Comic in early XIX have been played for centuries by amateur orchestra players?
The clarinet haunts Balzac. In the same novel, there is a casually thrown phrase: “You should also choose a tune for the clarinet to accompany this prediction.” Another Balzac character - the impoverished and blind father Canet, the hero of the story "Facino Cane", plays at the wedding party on ... the clarinet - a symbol of poverty and fall. All this is from the huge series of novels “The Human Comedy” - a creation worthy of being read in its entirety! Of course, not only because of the mention of the clarinet.
And here is a sketch by our compatriot P.V. Annenkova in his “Letters from Abroad”: “... finally, should we mention small industry that collects the remains of smoked and abandoned cigars, cleans your boots for 10 kopecks, sells sheets of evening magazines for the same amount, plays the clarinet... "
I open somehow at random the “Diaries” of the Goncourt brothers, and my gaze falls on the entry: “Pillot, a musician, said that, while collecting materials for an exhibition at the Conservatory, he visited a village on the Oise - I don’t remember its name - where For almost three hundred years they have been making wooden musical instruments: in this village there are no farms, the peasants there do not plow, do not sow, do not mow, but everyone, as if glued to a bench, makes clarinets, composed of thirty parts each. Don’t you think that this area, this fantastic area, is worthy of Hoffmann’s pen?”
It’s time to stop here and find out what kind of such an attractive instrument is the clarinet?
History of appearance and device
It can be stated that all currently known European music instruments have many predecessors. For example, a flute made of bone was well known and used already in the Stone Age. The earliest such instrument, stored in Baden-Württemberg (Germany), is approximately 35 thousand years old. It is amazing that this flute was made at a time when the drill needed to drill playing holes was absolutely unknown. However, the instrument produces a perfect five-step scale, similar to that on which Chinese music is based. (Such precision of intonation suggests that such instruments were intended for some kind of joint, that is, ensemble music playing, since playing solo, such as a shepherd, did not require such precision. In this case, already in the Stone Age, music and playing musical instruments was not just a hobby, but to a certain extent a professional occupation.)
Zummara - Bedouin double clarinet Saudi Arabia
As for the hero of our essay - the clarinet, its earliest ancestor can be considered the ancient pipe. Kurt Sachs, a leading American instrument expert, speaks of an ancient Egyptian reed wind instrument consisting of two pipes, and calls it a double clarinet.
The clarinet belongs to the family of so-called reed woodwind instruments. Reed - because a single reed is attached to its mouthpiece, or, in other words, a reed (a reed plate cut to nothing at the top). The name of the instrument comes from the Latin clarus- clear (meaning the sound of the instrument).
A modern clarinet consists of five parts: the upper part is a beak-shaped mouthpiece with a reed, then there is a short part called a barrel, then two parts that make up the main barrel of the instrument, on which all the playing holes and valves are located, and, finally, a funnel-shaped bell.
Soprano clarinet
Clarinets are made from grenadilla or ebony wood and plastic. The performer places the top of the mouthpiece against the lower lip and teeth and blows air into the instrument. Under the pressure of the air stream, the tongue begins to vibrate - it closes and opens with the mouthpiece. Under the influence of these shocks, the air column in the clarinet vibrates and sound arises.
French clarinetist. XVIII century
A. Kobyltsov. Portrait of clarinetist A.I. Glukhova. 1999
Like any musical instrument, the clarinet has passed long haul evolution and improvement of mechanics. He did not immediately take his place in the orchestra, and even when he began to be used in it, at first his role was very modest. The process of gradual penetration of the clarinet into the orchestral composition began soon after 1750, but did not end until the end of the century.
Unknown artist. Portrait of clarinetist Ferdinando Busoni. 1901
This is how you hold the clarinet while playing.
The two most essential parts of the clarinet - the reed and the cylindrical tube - were known long before their combination in the clarinet. Around 1690, the Nuremberg master Johann Christoph Denner, improving old instruments, combined these parts into a new instrument. And although the question of the authorship of the clarinet remains open, there are many reasons to consider Denner the inventor of this instrument. In any case, the oldest existing clarinets bears his name. Ancient treatises on instrumentation (for example, Kaspar Mayer) state exactly this.
Glinka about the clarinet and master Ivan Muller
There are many statements about the clarinet and its sound. Of great interest are the judgments of M.I. Glinka, as well as his use of this instrument. His “Notes on Instrumentation” are well known. Their autograph has not survived; they came to us in the publication of the “Musical and Theater Bulletin” for 1856. Let us give Glinka’s full judgment about the clarinet (despite the fact that it contains some purely professional terms):
"1. Clarinets. Their intonation can never be perfect true- on the properties of the material from which this instrument is made (hard wood and flexible reed). They must be used with great caution: after pauses they often break down and make a sharp, nasty sound, like the cry of a goose.
Little loyalty, but many effect. For tones with flats - clarinetto in B, for tones with sharps - clarinetto in A. But many flats or sharps should be avoided. Moves thirds(For two clarinets in an orchestra) are very convenient. In natural tones, passages like arpeggio come out beautifully. The highest notes are unpleasantly loud, and the lowest ones have a special, gloomy, fantastic character. Sounds from average c to g, weak and deaf, should be used with caution. Clarinetto in C generally loud and unfaithful.”
A significant improvement in the clarinet was made by Ivan Müller (1785–1854). Associated with this name new era in the history of the clarinet. A strange combination of Russian name and German surname explains and also comments on Muller’s invention, again by M.I. Glinka: “In Milan I met another clarinetist Iwan Muller, he considered himself Russian because he was, perhaps, from the Baltic provinces, or because, instead of Johann subscribed Ivan? The main thing is that through many valves ( clefs) he could play the same clarinet in all tones (keys. - A.M.); although from this innovation, instead of the full sound characteristic of this instrument, it produced sharp tones, like the cry of a goose. However, the inventor was proud of his invention.”
IN in this case Glinka is too strict. It should be taken into account that any innovation, including in the field of musical instruments, goes through stages of polishing and fine-tuning. And at the time when Glinka became acquainted with the invention, the new clarinet was not yet the wonderful instrument that it later became. Müller worked on his invention in Paris in 1810. (Paris again! Maybe it’s no coincidence that Parisians have a passion for the clarinet?)
Thanks to the refinement of the position of the holes on the barrel of the instrument, the Müller clarinet gained in precision in intonation, and due to the increase in the number of valves, it also gained greater technical ease. The Müller system was the subject of numerous improvements and served as the basis for many other valve systems invented by various inventors and performers, including two famous instrumental makers of Brussels and Paris - the two Sax brothers (Adolphe Sax invented the instrument named after him - the saxophone, in which the mouthpiece was completely borrowed from the clarinet).
Glinka, despite his critical assessment of the sound features of the contemporary clarinet, made, one might say, a revolution in the use of this instrument: he brought it out of its position as a primarily orchestral instrument and endowed it with music of exceptional beauty and expressiveness as a solo instrument. It's about about the “Pathetique Trio” for piano, clarinet and bassoon.
These days, this work can often be heard in a version for violin and cello, that is, in the traditional composition of a piano trio. However, it must be admitted that in the author's instrumentation - with wind instruments - it makes a completely different, much stronger impression. This is a unique composition in composition and interpretation of instruments, which has no analogue in musical literature, made a decisive revolution in its field.
“Each instrument,” A. Serov quotes Glinka’s words, “contains an inexplicable charm, but used to the point, sometimes in one phrase, in two or three bars, sometimes in a single white (long drawn out. - A.M.) note (especially wind instruments)..."
In connection with this exclamation by Glinka, how can one not recall literally the first phrases - oboe and clarinet - in the Prelude to R. Wagner’s opera “Tristan and Isolde”, phrases pouring out from these instruments from the famous painfully aching chord, which even received a special name - “Tristan” "!
But Wagner was later - “Tristan” was written in 1859. And “Pathetique Trio” - in the winter of 1832/1833. Surprisingly, it is the impression from the sound of the clarinet that can be considered, as Academician B. Asafiev claims, “the beginning musical biography great composer." Glinka himself recalled: “Once (I remember that it was in 1814 or 1815, in a word, when I was 10 or 11 years old) the Kruzel Quartet (composer, virtuoso clarinetist) was playing. A.M.) with clarinet; this music made an incomprehensible, new and delightful impression on me - I remained the whole day afterwards in some kind of feverish state, was immersed in an inexplicable, painfully sweet state... and the teacher... told me one day that he noticed that I was just thinking about music: “What should we do? - I answered, “music is my soul.”
As for the Trio, Glinka wrote it in Italy, in Milan, and at the same time the Trio was performed by him together with Italian musicians - soloists of the La Scala theater clarinetist Tassistro and bassoonist Cantu. The Italians were delighted with the work, and Cantu even exclaimed: “ Ma questo si e disperazione!"(Why, this is despair!). Glinka wrote ironically about this, saying that the despair was due to the pain in his fingers that he was then experiencing.
Clarinet in the works of European composers
Wolfgang Amadeus Mozart(1756–1791). Most famous composer wrote the most famous work for clarinet: concerto in A major. In one of his letters to his father, he wrote: “Oh, if only we had clarinets! “You won’t believe what a wonderful effect symphonies with flutes, oboes and clarinets produce.” Mozart lived at a time when the clarinet was still new to many music lovers. But at the same time, the instrument had already improved so much that it was possible to write very virtuoso music for it. Beginning in 1780, the clarinet became Mozart's favorite instrument, and he became close friends with the talented clarinetist Anton Stadler. It was for him that Mozart wrote many works featuring this instrument.
Ludwig van Beethoven(1770–1827). Opening new era V musical art Beethoven also highlighted the role of wind instruments in a new way. Although solo works he did not write for them, but in ensemble and symphonic genres his music cannot be imagined without wind instruments. Two clarinets participate in his Octet, as well as in the Rondino, composed by the 22-year-old Beethoven for table music wind ensemble. In the same year, he wrote three Duets for clarinet and bassoon (we leave aside works for other wind instruments, but note that at this time the wind instruments attracted the composer’s close attention).
If we keep in mind his later works with the participation of wind instruments, then we can see that Beethoven gives preference to the clarinet over the traditionally superior flute. We may mention his Quintet in E-flat major, op. 16, with clarinet, Trio in B-flat major, op. 11, for piano, clarinet and cello (the unfortunate fate of this work is to sound with a violin replacing Beethoven's clarinet), Septet in E-flat major, op. 20. It is noteworthy that the role of the clarinet in these chamber works of Beethoven is noticeably greater than its role in the first two symphonies created at the same time.
Louis Spohr(1784–1859). Nowadays Spohr is not as famous as Mozart or Weber, but in his time he was very popular. He wrote four clarinet concertos for his friend the clarinetist Johann Simon Harmstedt. Harmstedt was a brilliant performer, and all these concerts are full of technical difficulties. It is noteworthy that at first Spohr did not have a very clear understanding of the technical capabilities of the instrument and therefore did not write comfortably for it. However, Harmstedt, passionate about performing these concertos, made productive attempts to improve the mechanics of the clarinet.
Carl Maria von Weber(1786–1826). In the early 1810s wind instruments received a powerful impetus for their development in the work of this German composer. Literally during one year, 1811, he created a series of concerts for wind instruments and orchestra. Until now, these concerts are the basis of the repertoire of every concert wind player. There are nine concerts in total; six of them are for clarinet. Weber managed to brilliantly demonstrate all the capabilities of the instrument, its best qualities sound in all registers. These concertos were written for the composer's friend, clarinetist Heinrich Baerman. After Mozart's Concerto in A major, these Weber concertos are the most frequently performed clarinet works.
Hector Berlioz(1803–1864). In 1844, Berlioz’s “Grand Treatise on Modern Instrumentation and Orchestration” was published in Paris. The great orchestra virtuoso who discovered in him the whole world new timbre-expressive possibilities, outlined in detail his views on instruments, characterized their advantages and disadvantages, described many of their combinations and colors. And although Berlioz’s living compositional creativity provides incomparably greater variety, his judgments about tools.
In particular, about the clarinet we read: “There is something piercing in the timbre of the high register, the timbres of the middle register are suitable for melodious melodies, arpeggios and passages; The timbre of the low register, especially on sustained notes, is characterized by those effects full of cold threat, those gloomy sounds of frozen rage, the inspired discoverer of which Weber was... The character of the sounds of the middle register bears the imprint of some kind of pride, softened by noble tenderness. And this makes them capable of expressing the most poetic feelings and thoughts. The clarinet is not suitable for an idyll - it is an epic instrument, like horns, trumpets and trombones. His voice is the voice of heroic love." It is admirable how Berlioz characterizes instruments not only from their technical side, but also from the psychological side. Berlioz's use of the clarinet in his Symphony Fantastique is wonderful.
Johannes Brahms(1833–1897). Brahms had already finished composing music, but, just as Mozart met Stadler and wrote his clarinet works for him, or as Weber composed for Baerman, Brahms met the wonderful clarinetist Mühlfelds and wrote for him a clarinet trio, op. 114, quintet, op. 115, as well as two sonatas - F major, op. 120, and E-flat minor. This was a hundred years after Mozart, and the instrument had improved greatly during this time. Now no technical imperfections of the instrument restrained the composer’s creative imagination. As a result, we have genuine masterpieces of chamber music.
Everyone knows the tongue twister about how Karl stole corals from Clara, and Clara stole Karl’s clarinet. In general, corals are somewhat clear, but not everyone has an idea of what a clarinet is. It is necessary to conduct research and go on a tour of the history of creation, sound and description of this interesting musical instrument.
A trumpet or pipe called a clarinet. And yet, what is a clarinet? This is a wind musical instrument with an unusual sound. But where did it come from and who could create this masterpiece? To answer this question, you need to travel back in time a little.
History of the clarinet
The clarinet dates back to the end of the 17th century. early XVIII century. The Nuremberg man worked hard on this instrument. music master Johann Christoph Denner. Actually, the master tried to improve the design of the chalumeau (pipe). In 1701, the new chalumeau had a bell. Externally, the new product resembled the bell of a Clarion pipe. By the way, the sound also became similar to this instrument, the name of which comes from Latin word clarus - “clear”. It became obvious that this was a completely different, new musical instrument. Thanks to these shapes, the strange instrument was called clarinetto. This is an Italian name that means "little clarino". The musical instrument began to be called “small trumpet”, and the name “clarinet” itself is a diminutive of clarion.
As soon as the clarinet was not improved! I would like to give a special place to Jacob Denner, it was thanks to his efforts that the clarinet was equipped with another valve. This is not all that Jacob Denner did.
Just two valves? No, the improvements to the clarinet did not end there. Inspired by improvement, talented musicians sought more global changes, and more and more valves appeared. It was only in 1790 that the clarinet received its last sixth valve. The highbrow men decided to stop there for a while. But in the 19th century, something that was used only on the flute was adapted to the clarinet - this is a whole system of ring valves.
If we list everyone who had a hand in this amazing musical instrument, the list would include famous people. Among them are such bright minds as Berthold Fritz, Eugene Albert, Xavier Lefebvre, Karl Berman and even Adolphe Sax.
Based on historical data, we can give a clear answer to the question of what a clarinet is. This is an improved antique French pipe that has almost 20 valves, springs, many screws, axles and even rods. But the evolution of clarinets continues to this day.
The uniqueness of this instrument is visible at the very moment when the case with it is opened, and at this moment it is worth immersing yourself in the anatomy of this masterpiece.
Mouthpiece
What is it? The mouthpiece looks like a bird's beak. His device deserves special attention, because this element plays an important role in the sound of the instrument. There is a bend or notch in it. The mouthpiece is placed in the mouth to inhale air. And this very sound is affected by everything:
- the distance from the top of the mouthpiece to the end of the reed;
- notch, or rather its length;
- The angle at which the mouthpiece is tilted.
But it’s not just the mouthpiece that gives the instrument its sound.
Barrel
If you look at a clarinet, the question arises: what is that little kick on it? This barrel is responsible for tuning the clarinet. Thanks to it, the structure of the instrument changes. Changes occur up to a quarter tone. To do this, before starting the game, the barrel is slightly pulled out or, conversely, pushed into the body. There are no valves on it, but the manufacturer's name is present, which undoubtedly makes the instrument more elegant and visually attractive.
Cane
This part of the instrument is also called the reed - a thin narrow plate that produces sound. This part of the clarinet is made of reeds, but not the kind you see near a river or lake, but a special one. Unfortunately, reeds wear out quickly. After all, reed fibers are not oak. If you play music for just 1 hour every day, after 3 weeks you will need a new cane. The more air flow is blown, the faster wear occurs.
Bottom knee
The largest part of the clarinet can rightfully be considered the lower knee. On the right side there are valves, which are made of metal. There is also a cork ring that can be found underneath. Here on the lower knee there is also a jumper to connect the lower and upper knee.
Upper knee
Also a curious thing. Unlike the lower knee, the valves are located on the opposite, left side. The upper knee is smaller than the lower one. But the differences don't end there. If there is one cork connection on the lower knee, then there are two here. They were called just like those of a living creature - tendons.
To obtain a beautiful melody, the fingers hastily or slowly lower, closing, and rise, opening the holes that are located on the body of the musical instrument.
By the way, if we talk about holes, we can see six of them on the front side, and one more is clearly visible on the back. Total seven. But there is more. For the remaining holes, valves are used. This is a whole valve mechanism, which is the connection between the screws, axes and other parts of the tool. This system is quite complex and very difficult to understand.
Trumpet
The bell has the shape of a funnel or bell. When the clarinet plays, it sounds more like a trumpet than a flute. Of the wind instruments, the clarinet is more agile, but still inferior to the flute. Although, like a flute, the clarinet is held straight with its bell down.
Jacob Denner did a great job on this invention, because it is the bell that gives more accuracy. It is especially striking how the note E of a small octave sounds on the clarinet. But this is the lowest note! This can only be achieved thanks to the bell. Although the clarinet is a virtuoso instrument, it falls a little short of the swiftness and airiness of the flute. However, when the clarinet plays, songs are perceived brighter and images appear more clearly.
Clarinet sound
When a clarinet sounds in the hall, the music takes you to such distances that these impressions will never be forgotten. It seems he can do anything, regardless of whether he sounds alone or in tandem. This wooden instrument masterfully and grandiosely creates something secret, gloomy, as if danger lurks in a thick fog. And here the heart begins to beat with anxiety. The evil, piercing cry of this instrument can make you jump on the spot and plunge into the various emotions conveyed by the musician. Having different timbres, the clarinet simply magically conveys the human voice and even pronounced laughter, it seems that someone is talking to you, complaining or crying, rejoicing or sighing. And all this beauty is divided into several registers. And each register has its own timbre. Either soft, flying bliss, or sparkling expression. What a clarinet can't do! This is a barely audible singing, light as a breath of wind, and a strong rich colorful sound. And all this is a clarinet. A photo of this instrument cannot convey all the grace of which it is capable.
The path of the clarinet to the orchestra
We can safely say that now the clarinet is indispensable in the orchestra. First to the clarinet as to orchestral instrument treated with distrust and fear. But sympathy for him grew over time. And they began to write many works for the clarinet, which gave a fresh spirit and unusual coloring. In the middle of the 18th century, the clarinet sounded very appropriate in choirs where they sang military songs and played appropriate music. And the composer from warm Italy Gregorio Scioli in 1770 wrote a rather sweet sonata for this interesting instrument. Wolfgang Amadeus Mozart and Haydn are the ones who helped the clarinet firmly occupy not the worst positions as a full-fledged bright instrument.
Mozart took a bold step when he dared to use the clarinet in one church work. He also wrote one of the best concerts both in the repertoire of this unique instrument and in its entire history - this is a concerto for clarinet and orchestra. And in autumn Prague the work was a stunning success.
The year 1791 was coming to an end. Soon the clarinet became more prominent and attracted more and more attention from composers. Wherever its sound was encountered: Wagner, Beethoven, Weber, Mendelssohn, Schubert, Tchaikovsky, Berlioz and many other composers did not ignore the clarinet. Liszt used this melodious musical instrument in his symphonic poems. One gets the impression that the clarinet is an instrument that you simply cannot do without if you want to express the fullness and brightness of your feelings in music.
In Munich he dared to use the clarinet as a solo instrument. This event happened in March 1811. Success was predetermined. Inspired by this success, Weber immediately, in the same year, wrote two more concertos for clarinet. Now a brass band would not be so bright and rich without clarinets.
Making music and types of clarinets
How are works written for clarinet? As with all other musical instruments, with the help of notes and, of course, inspiration. Notes for clarinet are not written in the key of Fa. And they are written in the key Sol. This is the only way, and it cannot be otherwise. After all, we tried it differently. It turned out somewhat embarrassing. If you make out sounds above the A of the third octave, then the more the sound tends upward, the more complex it becomes and the sharper it is heard. It should be noted that in piano you can clearly feel the not entirely pure sound of the G-sharp step and the A step. But when the music in the orchestra is in forte, the listener will not notice it at all. Such degrees as B-flat and all other octaves up to the fourth received permanent registration in the orchestra. Depending on the required sound, a clarinet in A, in B, in C, in Es is used. The contrabass and basset clarinet are used less frequently.
So what is a clarinet? This is an unforgettable experience from listening to music and the feeling of flight and happiness after the concert.
